Andrew O'Hehir

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For 1,484 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 8.5 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Tuesday, After Christmas
Lowest review score: 0 8MM
Score distribution:
1484 movie reviews
    • 81 Metascore
    • 90 Andrew O'Hehir
    No
    A troubling, exhilarating and ingeniously realized film that’s part stirring political drama and part devilish media satire.
    • 81 Metascore
    • 100 Andrew O'Hehir
    A strange and gorgeous and haunting film that brings the indie aesthetic of the mid-1980s into a context that feels both timeless and highly contemporary.
    • 81 Metascore
    • 100 Andrew O'Hehir
    Meryl Streep, Nicole Kidman and Julianne Moore bring dignity and Oscar-worthy performances to The Hours, a lovingly crafted meditation on death, loss and literature.
    • 81 Metascore
    • 90 Andrew O'Hehir
    With its cartoonish pace, larger-than-life characters and detours into farce and agitprop, this movie captures the accelerated pace of life in the financial markets and the vast scale of their mendacity far more vividly than a naturalistic drama could.
    • 81 Metascore
    • 80 Andrew O'Hehir
    Maybe if Wes Anderson and Lars von Trier tried to write a sitcom together, the result would be something like A Pigeon Sat on a Branch, which essentially consists of a series of comic sketches whose gags are often revealed in their final seconds.
    • 81 Metascore
    • 100 Andrew O'Hehir
    Forget the inflated Trumpian moral dilemmas of "Superman" and "Captain America." The summer’s most powerful and most disturbing thriller has arrived, in the form of an intensely atmospheric Korean movie called The Wailing.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Skyfall is a push-pull between the past and the present, an effort to drag a symbol of maleness as iconic as the Union Jack bulldog on M's desk into a world of approximate gender equality and approximate acceptance of sexual difference. I'm not sure how sustainable that is over the long term; this is a smashing entertainment, but also one that feels over-engineered and constrained by its origins.
    • 81 Metascore
    • 80 Andrew O'Hehir
    So Upstream Color is defiantly pitched in its own idiosyncratic key, but it bears the unmistakable influence of Carruth’s fellow Texan Terrence Malick and also of Steven Soderbergh’s early films.
    • 81 Metascore
    • 80 Andrew O'Hehir
    It's a profoundly optimistic and delightful movie, for balletomanes and neophytes alike. It made me happy for days afterward.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Inherent Vice is like that; you’ll have to enjoy it for the pileup of exquisite images and hilarious episodes, and let go of the need to hold the whole thing in your head, or you won’t enjoy it at all.
    • 81 Metascore
    • 80 Andrew O'Hehir
    Allen seems to be paying attention in a way he hasn't always done in recent films, and has found a way to channel his often-caustic misanthropy, half-comic fear of death and anti-American bitterness into agreeable comic whimsy.
    • 81 Metascore
    • 100 Andrew O'Hehir
    More broadly this is a resonant, vivid and finally heartbreaking tale about the universal difficulty of marriage and the endless self-delusion of the human condition, driven by a trio of amazing dramatic performances.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Indeed, while the action-packed final act of The World’s End gets pretty formulaic (as it channels everything from “Invasion of the Body Snatchers” to “The Stepford Wives”), there’s ALMOST something serious at the core of this riotous comedy.
    • 81 Metascore
    • 60 Andrew O'Hehir
    You can choose to understand The Force Awakens as an embrace of the mythological tradition, in which the same stories recur over and over with minor variations. Or you can see it as the ultimate retreat into formula.... There are moments when it feels like both of those things, profound and cynical, deeply satisfying and oddly empty.
    • 81 Metascore
    • 80 Andrew O'Hehir
    If a movie can be stark and rapturous at the same time, this is that movie.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Klayman's riveting, vérité-style film captures this burly, bigger-than-life figure over the past three years, as his activism has heightened, his art has grown increasingly confrontational and he has deliberately blurred the distinction between aesthetics and politics.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Great cinema? Hell, I don't know. But one of the most satisfying movies of the holiday season, that much is for sure.
    • 80 Metascore
    • 90 Andrew O'Hehir
    In some ways Shake Hands With the Devil hits harder than either "Hotel Rwanda" or the recent HBO film "Sometimes in April."
    • 80 Metascore
    • 90 Andrew O'Hehir
    You can argue that the plot of The Martian doesn’t offer many surprises, but this is a movie of innumerable delightful moments and small discoveries, and even more of infectious enthusiasm.
    • 80 Metascore
    • 70 Andrew O'Hehir
    It's a lovely, measured and deeply earnest work. It balances a realistic view of first century Palestine against a sincere consideration of how an ordinary man might learn he is divine.
    • 80 Metascore
    • 80 Andrew O'Hehir
    Reichardt is a tremendously conscientious filmmaker, and not out to torture the audience. Yes, this is a fraught and agonizing story, but the way it ends, although heartbreaking, is absolutely right.
    • 80 Metascore
    • 90 Andrew O'Hehir
    An engaging and often wrenching film, Food, Inc. covers a wide range of material, including the horrific, the humorous and the exemplary.
    • 80 Metascore
    • 80 Andrew O'Hehir
    This is one of those movies where you either give yourself up to its rhythms or give up entirely. It took me a few minutes to get used to it, but I found Tony Takitani absorbing and loaded with emotional power.
    • 80 Metascore
    • 100 Andrew O'Hehir
    A ravishing, emotional and often very funny film about a wedding gone wrong, the end of the world and a woman suffering from profound depression.
    • 80 Metascore
    • 90 Andrew O'Hehir
    A vital documentary in the truest sense.
    • 80 Metascore
    • 70 Andrew O'Hehir
    Like a Theodore Dreiser novel for our time, infused with the vivid, vulgar spirit of reality TV. It often had the sold-out Eccles Center howling, but also has elements of profound tragedy and allegory.
    • 80 Metascore
    • 90 Andrew O'Hehir
    One of the most beautiful and endearing nature films you've ever seen, despite being filmed almost entirely within a major metropolis, and a love story that will repeatedly reduce you to tears.
    • 80 Metascore
    • 70 Andrew O'Hehir
    I left the theater oddly exhilarated - to see daylight again was so great! - and, odder still, eager to see it again (although perhaps not today). Tarr's films can be arduous, even wrenching, but they're not boring. Watching them is something like visiting the world's most fantastic art museum and taking an ice-cold shower, both at the same time.
    • 80 Metascore
    • 90 Andrew O'Hehir
    Dore does not gloss over the ideological excesses or internal quarrels of feminism, but more than anything else she captures the excitement of that era, the growing sense of solidarity as more and more women discovered that their dissatisfaction was not an individual matter.
    • 80 Metascore
    • 90 Andrew O'Hehir
    In telling the story of one damaged suburban genius and his unlikely rebirth, Love & Mercy captures the vanished possibilities of 1960s pop music, the fecklessness of the California dream and its decay into tragedy and madness, and other things less easy to describe or define.

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